Detail from the autograph of the Cantata pastorale, 1716: Non sò qual più m'ingombra
Source: Musiksammlung der Staatsbibliothek, Berlin
Detail from the autograph score of Cantata da camera: Ombre tacite e sole, 31.10.1716
Source: British Library
Both the above cantatas are available for purchase through this site.
The Composer's Words
'I have marked ... at necessary places the louds and softs of the instruments, which are the only means of making that chiaroscuro which makes singing and playing attractive.'
(A. Scarlatti, on his opera, Il Gran Tamerlano 1706.)
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Biography of the Italian composer Alessandro Scarlatti by Rosalind Halton
Contributor: Rosalind Halton
No Italian baroque composer produced more varied or more vividly singable music in his time than Alessandro Scarlatti. A compulsive worker, driven perhaps by the poverty of his childhood in famine-stricken Sicily, he made an early success as an opera composer in Rome, gaining the favour and protection of Queen Cristina of Sweden. With both his sisters giving rise to scandal and gossip, Alessandro and other members of his family left Rome in 1684 for Naples, where he took up the position of maestro di cappella at the vice-regal Court. A year later, in 1685, his most famous son, Domenico, was born. More successful operas followed, but Scarlatti was equally involved in the more intimate genre of the cantata.
By 1700 political instability at the court in Naples led him to look elsewhere, first to Prince Ferdinando de' Medici in 1702. He received a few opera contracts - resulting in the composition of the operas he regarded as his best (Lucio Manlio, and Il Gran Tamerlano). These lost works are the subject of a fascinating correspondence between composer and his patron. But Florence did not offer him long-term work and Rome became his base again, with employment at San Maria Maggiore. In 1706 he was at the peak of his activity in Rome, and was elected to the Arcadian Academy, one of few musicians to be so honoured, along with Corelli and Pasquini.
Above all, Rome offered Scarlatti the opportunity to develop the cantata and the serenata. Opera was banned altogether by Papal ordinance during much of his time in Rome. But the existence of the Accademia Arcadiana and the regular conversazioni of the Roman artistic patrons, Cardinals Ottoboni and Pamphili, and Prince Ruspoli, regularly brought together poets and musicians, with a sophisticated audience in an environment that encouraged subtlety and experimentation.
Rome in 1707 and 1708 was also the scene for Handel's many triumphs in oratorio and cantata. Nothing is documented on the subject, but maybe it is no coincidence that he left Rome soon after Handel's extended visit. 1707 saw Scarlatti in Venice, with a new opera, and a visit to Urbino followed, where he composed a number of chamber duets on pastoral themes. Towards the end of 1708 he accepted the Austrian Vice-Roy's invitation to return to his position in Naples, taking the place of Francesco Mancini, who had served in Scarlatti's prolonged absence. In 1716 he received the honour of a knighthood from Pope Clement XI.
From works like his Regole per Principianti, a treatise on figured bass, it seems that Scarlatti was active as a teacher; the German composers Quantz and Hasse were among those who sought him out. His last opera, Griselda composed for Rome in 1721, shows great spirit and energy, as does the cantata, Là dove a Mergellina dated 1725, the year of his death.
Studies of composers usually stress the large-scale works - the operas and oratorios - but with Alessandro Scarlatti it is in the cantatas that we see his most perfectly realised and imaginative music. He excelled in the art of the soliloquy and the duet, in detailed imagery, in dialogue between voice and instruments - all features that find unrivalled outlet in his cantatas.
Rosalind Halton 2000.